Italian | The Sleepless Critic

REVIEW: Summer love is luminous in The Huntington’s ‘The Light in the Piazza’

Posted on June 3, 2025 by The Sleepless Critic

Summer in Italy brings certain charms, especially when it comes to love punctuated by a brilliant light.

Meaningfully directed by Loretta Greco paired with Daniel Pelzig’s joyous choreography, The Huntington continues heartwarming musical, The Light in the Piazza through Sunday, June 15 at The Huntington Theatre in Boston, Massachusetts. This bilingual production in English and Italian runs two hours and 10 minutes including an intermission. Click here for more information and for tickets.

Based on Elizabeth Spencer’s 1960s novella of the same name, The Light the Piazza was quickly adapted into a sweeping romantic film in 1962 starring George Hamilton and Olivia de Havilland. The film offers further details into the plot and answers a few questions left by the musical, but the musical more than makes up for it through Adam Guettel’s riveting Tony award-winning Opera-inspired score and collection of English and Italian songs. The Light in the Piazza debuted on Broadway in 2005 and was the winner of two Tony Awards including Lead Actress in a Musical.

Sarah-Anne Martinez and Emily Skinner in The Huntington’s production of The Light in the Piazza, book by Craig Lucas, music and lyrics by Adam Guettel, directed by Huntington Artistic Director Loretta Greco; photo by Julieta Cervantes. Running May 8–June 15 2025 at the Huntington Theatre (264 Huntington Ave, Boston, MA 02115).

Set in Florence, Italy in 1953, a mother and daughter embark on an extraordinary vacation through Florence when a surprising incident leads to an encounter with Joshua Grosso as awestruck Fabrizio. It is quite the meet cute surrounded by Andrew Boyce’s detailed gold and marble architecture and an amiable ensemble. Yuki Izumihara’s lifelike projections combine with Andrew Boyce’s captivating sliding set design to revel in this beautiful country’s works of art, iconic buildings, church settings and the Italian countryside. These surroundings are exquisite and yet not overdone as gold frames hang aloft elegant Italian furniture which includes an elaborate bookcase, swaying silk curtains, lacy tablecloths and a vintage rolling gold lap tray.

Much of the musical explores the idea of feeling understood through the heart rather than the head. Through anguish, joy, humor, protectiveness and passion, this talented cast display stirring and powerful vocals in a remarkable journey while intensely expressing what each of them hold in their hearts. It is also a musical that explores love of all kinds as faith is put to the test.

Sarah-Anne Martinez is instantly enchanting as exuberant Clara. Martinez wows with her gorgeous rendition of The Beauty Is and shares immediate and endearing chemistry with Grosso as Fabrizio. Grosso simply dazzles in his rendition of Il Mondo Era Vuoto. Martinez’s wide eyed sincerity and Grosso’s benevolent charm blend harmoniously for Say it Somehow, The Beauty Is reprise and Passeggiata, a playful duet between Grosso and Martinez practicing a beloved Italian tradition on a revolving stage.

Joshua Grosso and Sarah-Anne Martinez in The Huntington’s production of The Light in the Piazza, book by Craig Lucas, music and lyrics by Adam Guettel, directed by Huntington Artistic Director Loretta Greco; photo by Julieta Cervantes. Running May 8–June 15 2025 at the Huntington Theatre (264 Huntington Ave, Boston, MA 02115).

The cast occasionally confides in the audience as Emily Skinner as Clara’s mother Margaret withholds a secret about Clara. Skinner evokes the weight of her tormented decisions through her emphatic hesitancy, protectiveness and gentle compassion. Clara shares a special bond with her mother, but also one that can be strained and conflicted.

Emily Skinner in The Huntington’s production of The Light in the Piazza, book by Craig Lucas, music and lyrics by Adam Guettel, directed by Huntington Artistic Director Loretta Greco; photo by Julieta Cervantes. Running May 8–June 15 2025 at the Huntington Theatre (264 Huntington Ave, Boston, MA 02115).

William Michaels as Signor Naccarelli and Rebecca Pitcher as Signora Naccarelli share great comic timing (at times sardonic) and are a complicated pair. Alexander Ross as Fabrizio’s charismatic brother Giuseppe brings lively humor to American Dancing and Rebekah Rae Robles is also impressive as mysterious Franca.

Greco’s immersive direction applies subtle and comical scenarios alongside the main plot to broaden this enchanting world such as kids playing together, doves flying overhead, a woman selling flowers or discussions among the clergy. The Light in the Piazza contains some twists and turns while maintaining its optimistic yet underlying seriousness.

The cast of The Huntington’s production of The Light in the Piazza, book by Craig Lucas, music and lyrics by Adam Guettel, directed by Huntington Artistic Director Loretta Greco; photo by Julieta Cervantes. Running May 8–June 15 2025 at the Huntington Theatre (264 Huntington Ave, Boston, MA 02115).

Soaring vocals, a wonderful cast, a splendid Italian setting, and an affecting family tale combine for an incandescent event at the Huntington.

Witness a powerful tale of love, beauty, faith and much more with The Light in the Piazza continuing through Sunday, June 15 at The Huntington Theatre in Boston, Massachusetts. Click here for more information and for tickets.

REVIEW: Boasting a superb and jovial cast, Boston Lyric Opera’s Boston-based ‘La Cenerentola (Cinderella)’ conjures practical magic

Posted on November 16, 2023 by The Sleepless Critic

This Cinderella keeps it local and conjures a bit more practical magic.

Stage directed with charm and finesse by Dawn M. Simmons and infused with Gioachino Rossini’s lively and whimsical music, Boston Lyric Opera presented Jacopo Ferretti’s Italian libretto La Cenerentola (Cinderella) live and in person at Emerson Cutler Majestic Theatre in Boston, MA for one weekend only through Sunday, November 12. Click here for more information and for a closer look at Boston Lyric Opera’s new season.

Move over glass slipper and fairy godmother and hello fashionistas and Amazon drivers. Cinderella is getting the city treatment with a few contemporary twists, but keeping its sparkling delivery and timeless moral message from a modern penthouse apartment overlooking the city of Boston.

ANGELINA (CECELIA HALL) MAKES HER ENTRANCE TO THE ROYAL BALL IN BOSTON LYRIC OPERA’S PRODUCTION OF LA CENERENTOLA (CINDERELLA) Photo by Nile Scott Studios

The Emerson Cutler Majestic Theatre’s ornate theatrical setting is so fitting for Jenna McFarland Lord’s sophisticated and elaborate set design featuring two towering lit lamp posts. From a pristine, lightly furnished penthouse apartment to a starlit, fantasy masquerade garden party embellished with vines chasing the walls, a wrought iron staircase, and twinkling lights, Lord builds up the fanciful spirit of this modern fairy tale.

La Cenerentola, spoken in Italian with English subtitles, is a spin of the traditional fairytale Cinderella and centers around an imaginative woman who lives with the Baron and his two daughters and must cater to their every whim. When Don Ramiro shows up at the Baron’s doorstep, change just might be in the air.

DON MAGNIFICO, (BRANDON CEDEL, L.) IS THE WICKED STEPFATHER TO TISBE (ALEXIS PEART, C.) AND DANA LYNNE VARGA IN BOSTON LYRIC OPERA’S PRODUCTION OF LA CENERENTOLA (CINDERELLA) Photo by Nile Scott Studios

However, some things haven’t changed in soprano Dana Lynne Varga as Clorinda and mezzo soprano Alexis Peart as Tisbe, Cinderella’s self-absorbed, scornful, and gold digging wicked stepsisters who can barely see beyond their mirrors (or in this case, their phones and selfie rings). The duo possesses certain regality in their bookend statures, if it was not for their disdain for others. Feathers, diamond encrusted bowties, crushed velvet, lace, and floral embroidery is just a portion of Trevor Bowen’s glittering, extravagant and fanciful costume design. Cecelia Hall as Angelina seems to simply float in her idyllic emerald gown. Don Magnifico, otherwise known as The Baron depicted with scene stealing glee by bass baritone Brandon Cedel, shares his daughters’ conceitedness decked out in rings, an earring, and carefully coiffed hair. Cedel waltzes around the apartment in self congratulatory bliss unless something or someone ruffles his flawless feathers. Though Cedel’s Baron does have a threatening side, Cedel spends much more time as a humorous ham as he flirts and shows off fun loving comic charm.

ANGELINA (CECELIA HALL) DREAMS OF A NEW LIFE FAR FROM WHERE SHE LIVES IN BOSTON LYRIC OPERA’S PRODUCTION OF LA CENERENTOLA (CINDERELLA) Photo by Nile Scott Studios

In suspenders and doo rag cap, mezzo soprano Cecelia Hall gracefully portrays modest, tactful, and compassionate Angelina with agile vocals, shining especially in the production’s quieter moments. A sidelong glance, demure blush, and a barely concealed impish smile and gaiety escape her while she tends to her endless household duties, especially in the charismatic presence of tenor Levy Sekgapane as Don Ramiro. Sekgapone’s dazzling vocals and captivating rapport with Hall make for some of the production’s most delightful moments and Ferretti’s libretto wisely delves further into Ramiro’s persona than other Cinderella productions.

CLORINDA AND TISBE (DANA LYNNE VARGA, LEFT AND ALEXIS PEART, RIGHT) ARE CHARMED BY DANDINI (LEVI HERNANDEZ), WHILE DON RAMIRO (LEVY SEKGAPANE, R) LOOKS ON IN BOSTON LYRIC OPERA’S PRODUCTION OF LA CENERENTOLA

Hall also shares a sweet camaraderie with bass baritone James Demler through a good deed as humble and quick witted Amazon driver and part narrator Alidoro. Both Demler and Levi Hernandez as Dandini are immediately likable from the start. Demler’s gravitas and commanding vocals deliver some wondrous surprises while baritone Hernandez’s soaring vocals as Dandini show they are much more than meet the eye.

Gioanchino Rossini’s urgent rhythms, quick pacing, and playful, melodic dialogues enchant while the lightning speed of some of the libretto demonstrate the collective and extraordinary skill of this engaging cast. With a few more refreshing twists and turns than in Cinderella’s traditional tale, Boston Lyric Opera’s La Cenerentola (Cinderella) embarks on a humorous and jovial journey while emphasizing the power of love and grace in all circumstances.

REVIEW: Boston Lyric Opera’s season opener ‘Cavalleria Rusticana’ a passionate and magnificent affair

Posted on October 17, 2021 by The Sleepless Critic

Not even Easter Sunday can stop a scandal in the Sicilian countryside.

Featuring distinct, eye-popping costumes, a glorious Opera Chorus led Brett Hodgdon, and a full orchestra, Boston Lyric Opera (BLO) opened their season on a grand scale with the renowned one act Italian libretto, Cavalleria Rusticana for just two performances on October 1 and 3. Boston Lyric Opera was greeted by an enthusiastic crowd anticipating BLO’s return to a live venue for 18 months. Delivered on a concert scale, Cavalleria Rusticana was presented under Leader Bank Pavilion’s open air tent in the Seaport District in Boston, Massachusetts. It ran for 1 hour and 10 minutes with no intermission.

JAVIER ARREY AS ALFIO WITH DANCERS VICTORIA L. AWKWARD, MICHAYLA KELLY, AND MARISSA MOLINAR Photo by Liza Voll/Boston Lyric Opera

Loyalty, love, honor, and faith are tested among this group of passionate players. Led by Music Director David Angus, the seemingly joyous overture delivers an exciting rush woven into a sense of foreboding, hinting at turmoil among still waters on the holiest of days, Easter Sunday. Introducing the libretto is an interactive and unparalleled performance of Pagliacci’s Prologue by Javier Arrey. Taking a reflective, humorous, and philosophical tone addressing the audience over what they are about to see, Cavalleria Rusticana becomes a passionate and cautionary tale, pleading about the affects of love and the human spirit.

Julia Noulin-Merat’s standalone set pieces, including overturned chairs piled high in pale pink as well as bright yellow chairs lining the stage, pop as does Gail Astrid Buckley’s distinct, vivid costumes with blooming flowers set against the orchestral backdrop depicting the emergence of a Sicilian spring.

CHELSEA BASLER AS LOLA WITH DANCER MICHAYLA KELLY Photo by Liza Voll/Boston Lyric Opera

It is easy to get invested in these headstrong characters and Cavalleria Rusticana hits the ground running steeped in a complex love affair as the sacredness of Easter surrounds them, emphasized by ethereal dancers Victoria Awkward, Michayla Kelly, and Marissa Molinar and the swelling of the Boston Lyric Chorus’s powerful and spiritual lyrics.

Michelle Johnson as conflicted Santuzza leads this magnificent cast, delivering a splendid, heartrending performance. Filled with sorrow and longing, Johnson’s tremendous vocals and her searing confrontation with Turiddo, portrayed with a charismatic yet manipulative mystique by Adam Diegel, show Johnson is a force to be reckoned with. Chelsea Basler depicts alluring and complicated Lola with infuriating and masterful charm and the heart of the show lies with loyal and compassionate Nina Yoshida Nelsen as Mamma Lucia who observes it all much like the audience, with bated breath.

MICHELLE JOHNSON AS SANTUZZA AND NINA YOSHIDA NELSEN AS MAMMA LUCIA
Photo by Liza Voll

The show is delivered entirely in Italian and with subtitles at significant parts of the production. However, for someone who does not know Italian and with a production so captivating, it is difficult having to forego not knowing every single word spoken from this enthralling cast.

Cavallaria Rusticana takes place in 1900’s Sicily and yet this opera is as timeless as any contemporary story told today and a perfect choice to open Boston Lyric Opera’s new season which includes virtual and live and in-person performances including jazz-themed opera Champion and Svadba through operabox.tv. Click here for more information and a closer look at BLO’s new season.

REVIEW: Versatile singer Joyce Didonato performed classics with a compelling twist as Celebrity Series presented ‘Songplay’

Posted on March 14, 2019 by The Sleepless Critic

It is easy to see why mezzo soprano Joyce Didonato has such a following on social media and otherwise. For one night only, she took the stage to share what she has learned from music and more as Celebrity Series presented Songplay on Friday, March 1 at New England Conservatory’s Jordan Hall at 8 p.m. Click here for more information and here for where Joyce Didonato will appear next.

Celebrity Series of Boston presented Joyce Didonato for one night only on March 1 Photo courtesy of Celebrity Series

Celebrity Series has a knack for welcoming artists that not only show off their talent, but teach the audience a thing or two about their craft, leaving the audience some material to ponder. With a lively, charming presence and a versatile voice that defies a definitive genre, mezzo-soprano Joyce Didonato shattered a few traditions and came up with a refreshing repertoire that combined opera, jazz, baroque, and other genres making a few classic songs new again.

Emerging from backstage in a shimmering emerald evening gown, this dynamic singer was greeted by a full house. This particular show seemed to be tailor-made for professionally-trained singers as Joyce shared details of her extensive vocal training, recalling in jest and self deprecation the tools that helped her become the professional singer she is. She also shared some personal reflections and comical stories between songs about her life and music.

With soaring, soothing vocals and an impeccable range, Joyce’s voice is as sophisticated with an aria as it is playful with jazz and Broadway numbers. Fans of opera and jazz would especially enjoy the show, but Joyce and her band offered enough variety and humor with each transformed song that most music fans could appreciate it as well.

Throughout the evening, she introduced her acclaimed band one by one with anecdotes and playful music interludes. Each band member had their individual chance to shine. Behind a large Steinway and Sons grand piano sat pianist and arranger Craig Terry with whom she shared more than a few lighthearted moments with. They kicked off the evening with the Italian aria, Caro mio ben and later Craig performed a captivating rendition of Dizzy Fingers.

Hailing from Buenos Aires, Lautaro Greco introduced the bandoneon, a unique instrument which is played like a piano, shaped like an accordion, but sounds like a horn. He joined her lively band that included revered double bassist Chuck Isreals, acclaimed percussionist Jimmy Madison, and legendary trumpet player Charlie Porter. The band’s random, surprising music notes added a few humorous and cheeky moments to the performance, the horn chasing her soaring vocals during a jazz-infused interlude. All in good fun.

A few of the evening’s highlights included a heartfelt, angst-ridden rendition of Will He Like Me? from the Broadway show, She Loves Me, a tender, reflective rendition of Gene Scheer’s Lean Away dedicated to Andre Previn, Duke Ellington’s classic Solitude, and a song Joyce always dreamed of singing, Edith Piaf’s La Vie en Rose.

At one point during the show, Joyce referred to playing traditional music just one way as an emotional straight jacket. Watching her put a creative spin on these classics with humor, grace, and gusto was a liberating experience.

Celebrity Series of Boston offers a dynamic roster featuring the annual Stave Sessions, Alvin Ailey American Dance Theatre, Shawn Colvin, and much more. Click here for more information and for tickets. Tickets can also be obtained at the Celebrity Series of Boston’s box office. Follow Celebrity Series of Boston on Facebook, Twitter, and Instagram.